Theatre Quotes
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I might not have been academically gifted - I was bad at maths, and science was a struggle - but I was good at English literature and became hooked on theatre.
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Shaw's relations with women have always been gallant, coy even. The number he has surrendered to physically have been few – perhaps not half a dozen in all – the first man to have cut a path through the theatre and left it strewn with virgins.
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I got into theatre kinda late by some standards, and I sorta fell into it. I had broken my ankle playing football, and my high school was doing a production of 'Barnum.' I could juggle, and my mom really wanted to get me out of the house. She said since I wasn't playing football and couldn't wrestle, maybe I should audition for the show.
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I need theatre for my equilibrium, because in theatre the actors don't care so much about image, about celebrity - you are more independent. There is not the narcissism, maybe, that you find in cinema.
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The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'
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He's never fought with religion; what is the point of railing against such beauty, such intimate theatre, such chime of eternity? He can treasure it without believing in it.
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I did 'Degrassi' for five years in Toronto, and I made the decision to quit the show to go to theatre school, which a lot of people thought I was really crazy to do, but it was one of those major decisions in my life that I haven't regretted - hopefully I won't! I really wanted to go to school.
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I get the 'Guardian' delivered every day and read it very quickly. I like it for both the TV and theatre reviews and because it's very accessible. At the weekend, I get the 'Observer' because I love the food supplement, Observer Food Monthly, and the style section. And I can't resist the News of the World.
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Maybe all theatre is going to be irrelevant for all time.
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My work is very popular with performers, and there are theatre people who get what I'm doing and what tradition I'm working in. I'm very grateful to them - they're my people, who understand why I work the way I do.
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All the adults in my family were actors, so there wasn't much else in terms of role models. I fell in love with that world, being backstage at the theatre.
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I love musical theatre. It's a passion of mine.
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Dance and theatre afforded me the opportunity to discover my passion for acting, for telling stories.
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The theatre is not the place for the musician. When the curtain is up the music interrupts the actor, and when it is down the music interrupts the audience.
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When I first started acting, I was actually working with the National Youth Theatre in London doing anti-knife crime workshops, so I was listening to a lot of music that was around us all the time, around the guys I was working with, and the kids - lots of young grime artists from London.
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'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
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I'm not real. I'm theatre.
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Secret Cinema has created a new way of experiencing film. The fusion of film and theatre allows for a much more powerful experience and adds an incredibly unique dimension for the audience. It certainly did for me. I was blown away
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The work of rehearsal is looking for meaning and then making it meaningful.
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Brecht always liked people to be aware that they were in a theatre. I said to him more than once, but Brecht, what makes you think they think they're anywhere else?
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I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
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A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
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What the American public wants in the theater is a tragedy with a happy ending.
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My parents didn't take me to the theatre to see Chekhov when I was growing up - we went to see 'Francie and Josie' once every five years.
